Symphony(from Greek " consonance") - a genre of symphonic instrumental music of a multi-part canonized form of fundamental ideological content.
A symphony is usually a composition for orchestra, usually consisting of several movements. This is one of the most important genres of European music. In the modern sense, the word “symphony” came into use relatively recently, in the 70s. XVIII century, but it itself is of very ancient origin.
"Symphony" means "harmony" in Greek. IN ancient times this was the name given to the singing of a choir or ensemble in unison, as well as any harmonic, euphonious combination of tones. In the Middle Ages the word disappeared from use, and new life it began during the Renaissance. But now the word “symphony” had a different meaning. In the music of the Renaissance, polyphonic vocal compositions were common - madrigals, canzones. They usually opened with an instrumental introduction, which was called a symphony. When in the 17th century. When the opera arose, it also began with a symphony - later this introduction turned into an overture.
In the 18th century the symphony gradually separated from vocal music and began its independent existence. It acquired its classic appearance in the 1780-1790s. in the works of the great Austrian composers J. Haydn and W. A. Mozart. From this time on, the brilliant path of the symphony in European and world music began; it was then that it became the most important, central genre. musical creativity.
A classical symphony consists of four contrasting movements. Together they form a sonata-symphonic cycle. The cyclic structure allows the composer to express a variety of feelings and moods, to create a musically generalized image of the era. The symphonies of Mozart, L. Beethoven, L. I. Tchaikovsky, J. Brahms, G. Mahler, D. D. Shostakovich give us the opportunity to experience the unique atmosphere of time, just as a novel or theatrical play does.
The first part of a classical symphony is energetic, effective, at a fast tempo, and, as a rule, occupies a dominant position in the cycle. For it, composers choose one of the most complex forms - the sonata. The sonata form makes it possible to compare contrasting, even conflicting images - heroic and lyrical, gloomy and bright, solemn and tender. These images then develop, change and, as a result, acquire new character, new features. The first part of the symphony is therefore particularly distinguished by its diversity and richness.
The second part is usually slow. Its character is determined by lyrical, contemplative moods; it contains melodies close to songs and romances. This is a respite after the turbulent events of the first part. But there are also deviations. For example, in one of Haydn’s symphonies and in Beethoven’s “Eroic Symphony” in the second movement, a funeral march sounds, mournful and majestic.
The third movement in the symphonies of Haydn and Mozart is a minuet. Minuets in classical symphonies are like sketches, pictures from nature. Haydn's minuets are full of folk fun, close to peasant dances; in Mozart they are lyrical, sometimes with a touch of dramatic seriousness. Beethoven replaced the minuet with a scherzo - music of a rapid, lively nature, often with a humorous overtones.
The fourth part is the finale. Like the first, it is written at a fast pace, but internally it is not so contrasting. If the meaning of the first part lies in the conflicting comparison of images and the dramatic development of the action, then in the finale the statement and summing up come to the fore. It is no coincidence that finales are often written in the form of a rondo, based on the circular return of the same theme, that is, on the proclamation of the same musical thought. Simultaneously with the sonata-symphonic cycle, the orchestral composition for which the symphonies were created was formed - a symphony orchestra.
Beethoven's work is rightfully considered the pinnacle in the historical development of the symphony. Each of his symphonies is a new, individual version of the genre, each of them contains a whole world of philosophical ideas, and is the result of the composer’s hard work of thought.
Beethoven's 9th Symphony, his crowning achievement creative path, opens new page in the history of the genre. In its final part, the ode “To Joy” by F. Schiller sounds, affirming the idea of the universal brotherhood of mankind. This idea, central to Beethoven’s work, is proclaimed in the powerful sound of the choir and orchestra. This is how the symphony becomes vocal. It was inherited by composers of subsequent generations: vocal symphonies were written by G. Berlioz, Mahler, A. N. Scriabin, I. F. Stravinsky, Shostakovich.
The poetic text makes the content of the symphony more concrete, and such works belong to program music. A program symphony can also become a program if the composer simply prefixes it with a title. Haydn also had similar works, for example the original “Farewell Symphony”, which ends with the gradual departure of the musicians. In Beethoven's 6th (Pastoral) Symphony, all five movements are titled. We see that the program plan forced Beethoven to increase the number of parts in the symphony and move away from the classical construction of the cycle. Later composers treated the form of the symphony even more freely, increasing the number of parts or, on the contrary, compressing the cycle into one movement. Each time it is connected with the idea of the composition, with an individual plan.
The greatest symphonists after Beethoven are F. Schubert, Brahms, A. Bruckner, A. Dvorak, Mahler.
The symphonic heritage of Russian composers - Tchaikovsky, A. P. Borodin, A. G. Glazunov, Scriabin, S. V. Rachmaninov - is of world significance. Their great traditions received a rich and vibrant development in creativity Soviet composers of all generations - N. Ya. Myaskovsky, S. S. Prokofiev. A. I. Khachaturyan, T. N. Khrennikova, K. A. Karaev, Y. A. Ivanov, F. M. Amirov and other masters. The greatest symphonist of our time was Shostakovich. His 15 symphonies are a real chronicle of the 20th century.
Due to the similarity in structure with the sonata, the sonata and symphony are combined under common name"sonata-symphonic cycle". A classical symphony (as represented in the works of the Viennese classics - Haydn, Mozart and Beethoven) usually has four movements. The 1st movement, at a fast tempo, is written in sonata form; The 2nd, in slow movement, is written in the form of variations, rondo, rondo sonata, complex three-movement, less often in the form of a sonata; 3rd - scherzo or minuet - in three-part form da capo with trio (that is, according to the A-trio-A scheme); 4th movement, at a fast tempo - in sonata form, in the form of a rondo or rondo sonata.
A program symphony is one that is associated with known content, set out in the program (expressed, for example, in the title or epigraph), for example, Beethoven’s “Pastoral Symphony”, Berlioz’s “Fantasy Symphony”, etc. Dittersdorf, Rosetti and Haydn were the first to introduce the program into the symphony.
from Greek symponia - consonance
A piece of music for orchestra, mainly symphonic, usually in sonata-cyclic form. Usually consists of 4 parts; There are S. with more and less parts, up to one-part. Sometimes in S., in addition to the orchestra, a choir and solo vocals are introduced. voices (hence the path to the S. cantata). There are orchestras for string, chamber, wind and other orchestras, for an orchestra with a solo instrument (concert concert), organ, choir (choral orchestra), and wok. ensemble (vocal C). Concert Symphony- S. with concert (solo) instruments (from 2 to 9), similar in structure to the concert. S. is often close to other genres: S.-suite, S.-rhapsody, S.-fantasy, S.-ballad, S.-legend, S.-poem, S.-cantata, S.-requiem, S.-ballet, S.-drama (a type of cantata), theater. S. (genus oners). By nature, S. can also be likened to tragedy, drama, lyricism. poem, heroic epic, to get closer to the cycle of genre muses. plays, will depict in a series. music paintings In typical in her samples she combines the contrast of parts with the unity of concept, the multiplicity of diverse images with the integrity of the muses. dramaturgy. S. occupies the same place in music as drama or novel in literature. As the highest type of instr. music, it surpasses all other types of music in terms of its widest possibilities of implementation. ideas and wealth of emotional states.
Initially, in Dr. Greece, the word "S." meant a harmonious combination of tones (quart, fifth, octave), as well as joint singing (ensemble, choir) in unison. Later, in Dr. Rome, it became the name of the instrument. ensemble, orchestra. On Wed. centuries, S. was understood as secular instr. music (in this sense the term was used in France back in the 18th century), sometimes music in general; in addition, this was the name of some muses. tools (eg hurdy-gurdy). In the 16th century this word is used in the name. collections of motets (1538), madrigals (1585), vocal instruments. compositions (“Sacrae symphoniae” - “Sacred symphonies” by G. Gabrieli, 1597, 1615) and then instrumental. polyphonic plays (early 17th century). It is assigned to a polygon. (often chordal) episodes such as an intro or interlude in a wok. and instr. productions, in particular for introductions (overtures) to suites, cantatas and operas. Among operatic overtures, two types have emerged: Venetian - consisting of two sections (slow, solemn and fast, fugue), later developed into French. overture, and Neapolitan - of three sections (fast - slow - fast), introduced in 1681 by A. Scarlatti, who, however, used other combinations of parts. Sonata cyclic. the form gradually becomes dominant in S. and receives especially multifaceted development in it.
Having separated approx. 1730 from the opera, where the orc. the introduction was preserved in the form of an overture, the S. turned into an independent one. orc type music. In the 18th century will fulfill it as a basis. composition were strings. instruments, oboes and horns. S.'s development was influenced by various. types of orc. and chamber music - concert, suite, trio sonata, sonata, etc., as well as opera with its ensembles, choirs and arias, the impact of which on the melody, harmony, structure and figurative structure of S. is very noticeable. How specific. The genre of symphony matured as it dissociated itself from other genres of music, in particular theatrical music, gained independence in content, form, development of themes, and created that method of composition, which later received the name symphonism and, in turn, had a huge influence on many areas music creativity.
The structure of S. has undergone evolution. The basis of the series was a 3-part cycle of the Neapolitan type. Often, following the example of the Venetian and French. Overture in S. included a slow introduction to the 1st movement. Later, the minuet was included in S. - first as the finale of a 3-part cycle, then as one of the parts (usually the 3rd) of a 4-part cycle, the finale of which, as a rule, used the form of a rondo or rondo sonata. Since the time of L. Beethoven, the minuet has been replaced by a scherzo (3rd, sometimes 2nd movement), and since the time of G. Berlioz - by a waltz. The most important sonata form for S. is used primarily in the 1st movement, sometimes also in the slow and last movements. In the 18th century S. has been cultivated for many times. masters Among them are the Italian G. B. Sammartini (85 C., ca. 1730-70, of which 7 are lost), composers of the Mannheim school, in which the Czechs occupied a leading position (F. K. Richter, J. Stamitz, etc. .), representatives of the so-called preclassical (or early) Viennese school(M. Monn, G. K. Wagenseil, etc.), Belgian F. J. Gossec, who worked in Paris, the founder of the French. S. (29 S., 1754-1809, including “Hunting”, 1766; in addition, 3 S. for brass orchestra). Classic type S. was created by the Austrians. comp. J. Haydn and W. A. Mozart. In the work of the “father of the symphony” Haydn (104 S., 1759-95), the formation of symphony was completed. From the genre of entertaining everyday music, it turned into the dominant type of serious instrument. music. The main features of its structure. The system has developed as a sequence of internally contrasting, purposefully developing parts united by a common idea. Mozart contributed to the S. drama. tension and passionate lyricism, grandeur and grace, gave it even greater stylistic unity (c. 50 C, 1764/65-1788). His last C. - Es-dur, g-moll and C-dur ("Jupiter") - the highest achievement of the symphony. 18th century art Creative experience Mozart was reflected in his later works. Haydn. Especially great in the history of S. is the role of L. Beethoven, the completion of the Viennese classical school(9 S., 1800-24). His 3rd ("Heroic", 1804), 5th (1808) and 9th (with a vocal quartet and choir in the finale, 1824) S. are examples of heroic. symphonism addressed to the masses, embodying the revolution. pathos nar. struggle. His 6th S. ("Pastoral", 1808) is an example of program symphonism (see Program music), and the 7th S. (1812), in the words of R. Wagner, is the "apotheosis of dance." Beethoven expanded the scope of S., dynamized its dramaturgy, deepened the dialectic of thematic themes. development, enriched internal build and ideological meaning WITH.
For the Austrian and German Romantic composers of the 1st half. 19th century The typical genres are lyrical (Schubert's "Unfinished" Symphony, 1822) and epic (the last - Schubert's 8th Symphony), as well as landscape and everyday style with colorful national themes. coloring (“Italian”, 1833, and “Scottish”, 1830-42, Mendelssohn-Bartholdy). The psychological level has also increased. the wealth of S. (4 symphonies by R. Schumann, 1841-51, in which the slow movements and scherzos are the most expressive). The trend that emerged among the classics was immediate. transition from one part to another and establishment of themes. connections between parts (for example, in Beethoven's 5th symphony) intensified among the romantics, and C appeared, in which parts follow one after another without pauses (Mendelssohn-Bartholdy's "Scottish" symphony, Schumann's 4th symphony).
The rise of the French S. dates back to 1830-40, when innovative production appeared. G. Berlioz, creator of the romantic. C software based on lit. plot (5-part "Fantastic" S., 1830), S.-concerto ("Harold in Italy", for viola and orchestra, after J. Byron, 1834), S.-oratorio ("Romeo and Juliet", dram. S. in 6 parts, with soloists and choir, after W. Shakespeare, 1839), "Funeral-triumphal symphony" (funeral march, "oratorical" trombone solo and apotheosis - for brass orchestra or symphony orchestra, optional - and choir, 1840). Berlioz is characterized by the grandiose scale of his production, the colossal composition of the orchestra, and colorful instrumentation with subtle nuances. Philosophical and ethical the problematics were reflected in the symphonies of F. Liszt ("Faust Symphony", but J. W. Goethe, 1854, with a final chorus, 1857; "S. to" Divine Comedy"Dante", 1856). The mute acted as an antipode to the programmatic direction of Berlioz and Liszt. Komi J. Brahms, who worked in Vienna. In his 4 S. (1876-85), developing the traditions of Beethoven and Romanticism. symphonism, combined classical. harmony and variety of emotional states. Similar in style. aspirations and at the same time individual French. S. of the same period - 3rd S. (with organ) by C. Saint-Saens (1887) and S. d-moll by S. Frank (1888). In S. “From the New World” by A. Dvořák (the last, chronologically 9th, 1893) not only Czech, but also Negro and Indian muses were refracted. elements. The ideological concepts of the Austrians are significant. symphonists A. Bruckner and G. Mahler. Monumental production. Bruckner (8 S., 1865-1894, 9th unfinished, 1896) is characterized by polyphonic richness. fabric (influence of organizational art, and also, possibly, musical drama of R. Wagner), duration and power of emotional build-up. For Mahler's symphony (9 S., 1838-1909, 4 of them with singing, including the 8th - "symphony of a thousand participants", 1907; the 10th is not completed, an attempt to complete it from sketches was made by D. Cook in 1960; S.-cantata “Song of the Earth” with 2 singers-soloists, 1908) is characterized by the severity of conflicts, sublime pathos and tragedy, and expresses novelty. funds. As if in contrast to their large compositions, which use a rich performer. apparatus, a chamber symphony and a symphonietta appear.
The most prominent authors of the 20th century. in France - A. Roussel (4 S., 1906-34), A. Honegger (Swiss by nationality, 5 S., 1930-50, including 3rd - “Liturgical”, 1946, 5th - S. "three D", 1950), D. Milhaud (12 S., 1939-1961), O. Messiaen ("Turangalila", in 10 parts, 1948); in Germany - R. Strauss ("Home", 1903, "Alpine", 1915), P. Hindempt (4 S., 1934-58, including the 1st - "Artist Mathis", 1934, 3- I - “Harmony of the World”, 1951), K. A. Hartman (8th S., 1940-62), and others. Contributions to the development of S. were made by the Swiss H. Huber (8th S., 1881-1920, including 7th - “Swiss”, 1917), Norwegians K. Sinding (4 S., 1890-1936), H. Severud (9 S., 1920-1961, including anti-fascist by design 5-7- I, 1941-1945), K. Egge (5 S., 1942-69), Dane K. Nielsen (6 S., 1891-1925), Finn J. Sibelius (7 S., 1899-1924), Romanian J. . Enescu (3 S., 1905-19), the Dutch B. Peyper (3 S., 1917-27) and H. Badings (10 S., 1930-1961), the Swede H. Rusenberg (7 S., 1919- 69, and S. for spirit and percussion instruments, 1968), Italian J. F. Malipiero (11 S., 1933-69), Englishmen R. Vaughan Williams (9 S., 1909-58), B. Britten (S.-requiem, 1940, "Spring" S. for solo singers, mixed choir, boys' choir and symphony orchestra, 1949), Americans C. Ives (5 S., 1898-1913), W. Piston ( 8 S., 1937-65) and R. Harris (12 S., 1933-69), the Brazilian E. Vila Lobos (12 S., 1916-58) and others. A wide variety of types C. 20th century. due to the multiplicity of creativity. directions, national schools, folklore connections. Modern S. are also different in structure, form, and character: they gravitate towards intimacy and, on the contrary, towards monumentality; not divided into parts and consisting of plural. parts; traditional warehouse and free composition; for regular symphony orchestra and for unusual compositions, etc. One of the trends in music of the 20th century. associated with the modification of ancient - pre-classical and early classical - muses. genres and forms. S. S. Prokofiev paid tribute to him in the “Classical Symphony” (1907) and I. F. Stravinsky in the Symphony in C and “Symphony in Three Movements” (1940-45). In some S. 20th century. a departure from previous norms is revealed under the influence of atonalism, athematism and other new principles of composition. A. Webern built S. (1928) on a 12-tone series. Among the representatives of the “avant-garde” S. is repressed. new experimental genres and forms.
The first among Russians. composers turned to the S. genre (except for D. S. Bortnyansky, whose “Symphony Concertante,” 1790, was written for a chamber ensemble) Mich. Y. Vielgorsky (his 2nd S. was performed in 1825) and A. A. Alyabyev (his one-part S. e-moll, 1830, and an undated 3-part S. Es-dur type suite, with 4 concert horns, have survived) , later A.G. Rubinstein (6th S., 1850-86, including the 2nd - "Ocean", 1854, 4th - "Dramatic", 1874). M. I. Glinka, author of the unfinished S.-overture at the bottom of the Russian. themes (1834, completed in 1937 by V. Ya. Shebalin), had a decisive influence on the formation of stylistics. damn russian S. with all his symphonies. creativity, in which works of other genres predominate. In S. rus. The authors clearly express nationalism. character, pictures of people are captured. life, historical events, the motives of poetry are reflected. From composers" Mighty bunch"The first author of S. was N. A. Rimsky-Korsakov (3 S., 1865-74). The creator of the Russian epic S. was A. P. Borodin (2 S., 1867-76; unfinished 3rd , 1887, partially recorded from memory by A.K. Glazunov). I. Tchaikovsky (6 S., 1800-93, and program S. “Manfred”, after J. Byron, 1885). ., lyrical and dramatic in nature, achieve tragic power in the expression of life conflicts; they convey with deep psychological insight the rich range of human experiences. .ch. 1st - “Slavic”; unfinished 9th, 1910, - one part, instrumented by G. Ya. Yudin in 1948), 2 S. written by M. A. Balakirev (1898, 1908), 3 S - R. M. Glier (1900-11, 3rd - “Ilya Muromets”) The symphonies of S. Kalinnikov (2 S., 1895, 1897) attract you with their soulful lyrics, and with their deep concentration of thought - S. c-moll. I. Taneyeva (1st, actually 4th, 1898), drams. pathetic - the symphonies of S. V. Rachmaninov (3 S., 1895, 1907, 1936) and A. N. Scriabin, the creator of the 6-part 1st (1900), 5-part 2nd (1902) and 3-part 3rd (“Divine Poem”, 1904), distinguished by its special dramaturgy. integrity and power of expression.
S. occupies an important place in the Soviet Union. music. In the works of owls. composers received a particularly rich and vibrant development of the high traditions of classical music. symphonism. Sovs turn to S. composers of all generations, starting with senior masters - N. Ya. Myaskovsky, creator of 27 S. (1908-50, including the 19th - for brass orchestra, 1939), and S. S. Prokofiev, author of 7 S. (1917- 1952), and ending with talented young composers. A leading figure in the field of owls. S. - D. D. Shostakovich. In his 15 S. (1925-71) the depths of human consciousness and the tenacity of morals are revealed. forces (5th - 1937, 8th - 1943, 15th - 1971), embodied exciting themes of modernity (7th - so-called Leningradskaya, 1941) and history (11th - "1905", 1957; 12th - “1917”, 1961), high humanistic. ideals are contrasted with dark images of violence and evil (5-part 13th, based on lyrics by E. A. Yevtushenko, for bass, choir and orchestra, 1962). Developing tradition. and modern types of structure of the sonata cycle, the composer, along with a freely interpreted sonata cycle (a number of his sonata cycles are characterized by the sequence: slow - fast - slow - fast), uses other structures (for example, in the 11th - “1905”), attracts human voice (soloists, choir). In the 11-part 14th S. (1969), where the theme of life and death is revealed against a broad social background, two singing voices are soloed, supported by strings. and blow. tools.
Representatives of numerous people work productively in the region of S. national branches of owls music. Among them are prominent owl masters. music, such as A.I. Khachaturian - the largest Armenian. symphonist, author of colorful and temperamental songs (1st - 1935, 2nd - "S. with a bell", 1943, 3rd - S.-poem, with an organ and 15 additional pipes, 1947); in Azerbaijan - K. Karaev (his 3rd S., 1965 stands out), in Latvia - Y. Ivanov (15 S., 1933-72), etc. See Soviet music.
Literature: Glebov Igor (Asafiev B.V.), Construction of a modern symphony, " Contemporary music", 1925, No. 8; Asafiev B.V., Symphony, in the book: Essays on Soviet musical creativity, vol. 1, M.-L., 1947; 55 Soviet symphonies, L., 1961; Popova T., Symphony , M.-L., 1951; Yarustovsky B., Symphonies about war and peace, M., 1966; Soviet symphony for 50 years, ed. G. G. Tigranov, L., 1967; Konen V., Theater and Symphony..., M., 1968, 1975; Tigranov G., On the national and international in the Soviet symphony, in the book: Music in Socialist Society, issue 1, L., 1969; ., Symphony in France before Berlioz, M., 1977. Brenet M., Histoire de la symphonie and orchestra depuis ses origines jusqu"a Beethoven, P., 1882; Weingartner F., Die Symphonie nach Beethoven, V. 1898. Lpz., 1926; his, Ratschläge fur Auffuhrungen klassischer Symphonien, Bd 1-3, Lpz., 1906-23,"Bd 1, 1958 (Russian translation - Weingartner R., Performance of classical symphonies. Advice to conductors, vol. 1, M., 1965); 03, Bd 4; Torrefrança F., Le origini della sinfonia, 1913, v. 291-346, 1914, p. 97-121, 278-312, 1915, v. 22 , p. 431-446 Bekker P., Die Sinfonie von Beethoven bis Mahler, V., (1918) (Russian translation - Becker P., Symphony from Beethoven to Mahler, ed. and introduction by I. Glebov, L ., 1926); Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18 Jahrhunderts, Lpz., 1925, Tutenberg Fr., Die opera buffa-Sinfonie und ihre Beziehungen zur klassischen Sinfonie, "AfMw", 1927, Jahrg. 8, No. 4; same, Die Durchführungsfrage in der vorneuklassischen Sinfonie, "ZfMw", 1926/27, Jahrg 9, S. 90-94; Mahling Fr., Die deutsche vorklassische Sinfonie, V., (1940), Walin S., Beiträge zur Geschichte der schwedischen Sinfonik, Stockh., (1941), Сarse A., XVIII century symphonies, L., 1951; Borrel E., La symphonie, P., (1954), Brook B. S., La symphonie française dans la seconde moitié du XVIII siècle, v. 1-3, P., 1962; Kloiber R., Handbuch der klassischen und romantischen Symphonie, Wiesbaden, 1964.
B. S. Steinpress
Symphonic music surprisingly does not give up its positions, although its history goes back centuries. It would seem that time dictates new harmonies and rhythms, new instruments are invented, the process of composing itself takes on new forms - to write music, you now need a computer with a suitable program. However, symphonic music not only does not want to fade into history, but also acquires a new sound.
A little about the history of the genre, or rather, the whole spectrum of genres, since the concept of symphonic music is multifaceted, combining several musical forms. General concept this is: this instrumental music, written for symphony orchestra. And such orchestras can be created from large to chamber ones. Traditionally highlighted orchestral groups - string instruments, winds, drums, keyboards. In some cases, instruments can be solo, and not just sound in an ensemble.
There are many genres of symphonic music, but the symphony can be called the queen. The classical symphony was formed at the turn of the 18th and 19th centuries; its creators were composers of the Viennese school, primarily Joseph Haydn and Wolfgang Amadeus Mozart. It was they who brought to perfection the four-movement symphonic model, the variety of themes in the parts of the symphony, and the programmatic nature of each work. Symphonic music rose to a new level thanks to the work of Ludwig Van Beethoven. He made this genre more intense and dramatic, and shifted the semantic center to the finale of the symphony.
Beethoven's example was followed by romantic composers of the German and Austrian schools - Franz Schubert, Robert Schumann, Felix Mendelssohn, Johann Brahms. They considered the main thing to be the programmatic nature of a symphonic work; the framework of a symphony becomes cramped by it, new genres appear, such as symphony-oratorio, symphony-concert. This trend was continued by other classics of European symphonic music - Franz Liszt, Gustav Mahler.
Symphonic music in Russia seriously declared itself only in the second half of the 19th century. Although the first symphonic experiments of Mikhail Glinka can be called successful, his symphonic overtures and fantasies laid the serious foundations of Russian symphonism, which reached true perfection in the works of the composers of the “Mighty Handful” - M. Balakirev, N. Rimsky-Korsakov, A. Borodin.
Historically, Russian symphonic music, having passed the classical stage of development, was formed as romantic music with elements of national flavor. Genuine masterpieces that received global recognition, created by Pyotr Tchaikovsky. His symphonies are still considered the standard of the genre, and S. Rachmaninov and A. Scriabin became the successors of Tchaikovsky’s traditions.
Contemporary symphonic music, like all music of the 20th century, is in active creative search. Can Russian composers S. Stravinsky, S. Prokofiev, D. Shostakovich, A. Schnittke and other luminaries be considered modern? And the music is like that famous composers 20th century, like the Finnish Englishman Benjamin Britten, the Pole Krzysztof Penderecki? Symphonic music in modern processing, as well as in traditional, classical sound, is still in demand on world stages. New genres are appearing - which means the life of symphonic music continues.
(from the Greek “consonance”) - a piece for orchestra, consisting of several parts. Symphony is the most musical form among concert orchestral music.
Classic structure
Due to the relative similarity of the structure to the sonata, the symphony can be called a grand sonata for orchestra. Sonata and symphony, as well as trio, quartet, etc. belong to the “sonata-symphonic cycle” - a cyclic musical form of a work in which it is customary to present at least one of the parts (usually the first) in sonata form. The sonata-symphonic cycle is the largest cyclic form among purely instrumental forms.
Like a sonata, a classical symphony has four movements:
- the first part, at a fast tempo, is written in sonata form;
- the second part, in slow movement, is written in the form of a rondo, less often in the form of a sonata or variation form;
- third movement, scherzo or minuet in tripartite form;
- the fourth movement, at a fast tempo, in sonata form or in the form of a rondo, rondo sonata.
If the first movement is written at a moderate tempo, then, on the contrary, it may be followed by a fast second and slow third movement (for example, Beethoven's 9th symphony).
Considering that the symphony is designed for a large orchestra, each part in it is written in wider and more detail than, for example, in an ordinary piano sonata, since the richness expressive means symphony orchestra provides a detailed presentation of musical thought.
History of the symphony
The term symphony was used in Ancient Greece, in the Middle Ages and mainly to describe various instruments, especially those capable of producing more than one sound at a time. Thus, in Germany, until the mid-18th century, symphony was a general term for varieties of harpsichords - spinets and virginels; in France, this was the name for barrel organs, harpsichords, two-headed drums, etc.
The word symphony for "sounding together" musical works began to appear in the titles of some works of the 16th and 17th centuries, by such composers as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Banchieri (Eclesiastiche Sinfonie, 1607), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629).
The prototype of the symphony can be considered to be that which took shape under Domenico Scarlatti at the end of the 17th century. This form was already called a symphony and consisted of three contrasting parts: allegro, andante and allegro, which merged into one whole. It is this form that is often seen as the direct forerunner of the orchestral symphony. The terms "overture" and "symphony" were used interchangeably for much of the 18th century.
Other important ancestors of the symphony were the orchestral suite, consisting of several movements in the simplest forms and mostly in the same key, and the ripieno concerto, a form reminiscent of the concerto for strings and continuo, but without solo instruments. The works of Giuseppe Torelli were created in this form, and perhaps the most famous ripieno concerto is Johann Sebastian Bach's Brandenburg Concerto No. 3.
He is considered the founder of the classical symphony model. In a classical symphony, only the first and last movements have the same tonality, and the middle ones are written in keys related to the main one, which determines the tonality of the entire symphony. Outstanding representatives of classical symphony are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Beethoven dramatically expanded the symphony. His Symphony No. 3 ("Eroic"), has a scale and emotional range that surpasses all early works, his Symphony No. 5 is perhaps the most famous symphony ever written. His Symphony No. 9 becomes one of the first "choral symphonies" with the inclusion of parts for soloists and chorus in the last movement.
The romantic symphony became a combination of classical form with romantic expression. The software trend is also developing. Appear. Home distinctive feature Romanticism was the growth of form, composition of the orchestra and density of sound. The most outstanding authors of symphonies of this era include Franz Schubert, Robert Schumann, Felix Mendelssohn, Hector Berlioz, Johannes Brahms, P. I. Tchaikovsky, A. Bruckner and Gustav Mahler.
Beginning in the second half of the 19th century and especially in the 20th century, there was a further transformation of the symphony. The four-movement structure has become optional: symphonies can contain from one (7th Symphony) to eleven (14th Symphony by D. Shostakovich) parts or more. Many composers experimented with the size of symphonies, so Gustav Mahler created his 8th symphony, called "Symphony of a Thousand Participants" (due to the strength of the orchestra and choirs required to perform it). The use of sonata form becomes optional.
After L. Beethoven's 9th Symphony, composers more often began to introduce vocal parts into symphonies. However, the scale and content remain constant musical material.
List of prominent symphony authors
Joseph Haydn - 108 symphonies
Wolfgang Amadeus Mozart - 41 (56) symphonies
Ludwig van Beethoven - 9 symphonies
Franz Schubert - 9 symphonies
Robert Schumann - 4 symphonies
Felix Mendelssohn - 5 symphonies
Hector Berlioz - several program symphonies
Antonin Dvorak - 9 symphonies
Johannes Brahms - 4 symphonies
Pyotr Tchaikovsky - 6 symphonies (as well as the Manfred symphony)
Anton Bruckner - 10 symphonies
Gustav Mahler - 10 symphonies
- 7 symphonies
Sergei Rachmaninov - 3 symphonies
Igor Stravinsky - 5 symphonies
Sergei Prokofiev - 7 symphonies
Dmitri Shostakovich - 15 symphonies (also several chamber symphonies)
Alfred Schnittke - 9 symphonies
Tannhäuser: Opening new section about musical forms and genres. And the first page, rightfully, opens with “SYMPHONY”... I will add portraits of great composers and other pictures to the text. I did not add everything to me famous names symphonists. But continue to introduce you to the “new” forgotten names I will. I won’t overload the post with audio and video clips... You can find them yourself without worries... And in my Diary, too. See you in this section.
Symphony(from the Greek “consonance”) - a piece for orchestra, consisting of several parts. The symphony is the most musical form of concert orchestral music.
Classic structure
Due to the relative similarity of the structure to the sonata, the symphony can be called a grand sonata for orchestra. Sonata and symphony, as well as concerto, trio, quartet, etc. belong to the “sonata-symphonic cycle” - a cyclic musical form of a work in which it is customary to present at least one of the parts (usually the first) in sonata form. The sonata-symphonic cycle is the largest cyclic form among purely instrumental forms.
Like a sonata, a classical symphony has four movements:
- the first part, at a fast tempo, is written in sonata form;
- the second part, in slow movement, is written in the form of a rondo, less often in the form of a sonata or variation form;
- third movement, scherzo or minuet in tripartite form;
- the fourth movement, at a fast tempo, in sonata form or in the form of a rondo, rondo sonata.
If the first movement is written at a moderate tempo, then, on the contrary, it may be followed by a fast second and slow third movement (for example, Beethoven's 9th symphony).
Considering that the symphony is designed for a large orchestra, each part in it is written in broader and more detail than, for example, in an ordinary piano sonata, since the wealth of expressive means of a symphony orchestra provides for a detailed presentation of musical thought.
History of the symphony
The term symphony was used in ancient Greece, the Middle Ages, and the Renaissance primarily to describe various instruments, especially those capable of producing more than one sound at a time. Thus, in Germany, until the mid-18th century, symphony was a general term for varieties of harpsichords - spinets and virginels; in France, this was the name for barrel organs, harpsichords, two-headed drums, etc.
The word symphony, to designate "sounding together" musical works, began to appear in the titles of some Baroque works of the 16th and 17th centuries, by composers such as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Banchieri (Eclesiastiche Sinfonie , 1607), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629).
The prototype of the symphony can be considered the Italian overture, which took shape under Domenico Scarlatti at the end of the 17th century. This form was already called a symphony and consisted of three contrasting parts: allegro, andante and allegro, which merged into one whole. It is this form that is often seen as the direct forerunner of the orchestral symphony. The terms "overture" and "symphony" were used interchangeably for much of the 18th century.
Other important ancestors of the symphony were the orchestral suite, consisting of several movements in the simplest forms and mostly in the same key, and the ripieno concerto, a form reminiscent of the concerto for strings and continuo, but without solo instruments. Works by Giuseppe Torelli and Antonio Vivaldi were created in this form, perhaps the most famous ripieno concerto being Johann Sebastian Bach's Brandenburg Concerto No. 3.
Joseph Haydn is considered the founder of the classical symphony model. In a classical symphony, only the first and last movements have the same key, and the middle ones are written in keys related to the main one, which determines the key of the entire symphony. Outstanding representatives of classical symphony are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Beethoven dramatically expanded the symphony. His Symphony No. 3 ("Eroica") has a scale and emotional range that surpasses all earlier works, his Symphony No. 5 is perhaps the most famous symphony ever written. His Symphony No. 9 becomes one of the first "choral symphonies" with the inclusion of parts for soloists and chorus in the last movement.
The romantic symphony was a combination of classical form with romantic expression. The software trend is also developing. Leitmotifs appear. The main distinguishing feature of romanticism was the growth of form, composition of the orchestra and density of sound. The most outstanding authors of symphonies of this era include Franz Schubert, Robert Schumann, Felix Mendelssohn, Hector Berlioz, Johannes Brahms, P. I. Tchaikovsky, A. Bruckner and Gustav Mahler.
Beginning in the second half of the 19th century and especially in the 20th century, there was a further transformation of the symphony. The four-movement structure has become optional: symphonies can contain from one (Jean Sibelius’s 7th Symphony) to eleven (D. Shostakovich’s 14th Symphony) movements or more. Many composers experimented with the size of symphonies, so Gustav Mahler created his 8th symphony, called "Symphony of a Thousand Participants" (due to the strength of the orchestra and choirs required to perform it). The use of sonata form becomes optional.
After L. Beethoven's 9th Symphony, composers more often began to introduce vocal parts into symphonies. However, the scale and content of the musical material remains constant.
Joseph Haydn - 108 symphonies
Wolfgang Amadeus Mozart - 41 (56) symphonies
Ludwig van Beethoven - 9 symphonies
Franz Schubert - 9 symphonies
Robert Schumann - 4 symphonies